To Conduct or Not to Conduct ... That is the Question
by Dean Sorenson

The role of the conductor in a jazz ensemble is often quite misunderstood. On one side there are those who say that conducting a jazz ensemble is completely different from conducting a concert band, and attempts to find any similarities are a waste of time. There are others that approach conducting the jazz ensemble exactly as they would a concert band. The most effective technique is a blending of these two viewpoints. How much to draw from each, however, depends on many factors. Let’s examine some of these and attempt to answer this question.
     In a concert band, the conductor conducts most everything. There is no rhythm section to listen to and the sheer size of a concert band makes it essential that someone be responsible for holding everything together. The motions and gestures of the conductor will vary in look and purpose, however, according to a variety of factors. In a younger and less experienced band, and especially when playing music that has not been rehearsed, the conductor serves as a timekeeper and traffic cop more than anything else. As the maturity level of a group rises, and as the band becomes more comfortable with the music, the conductor’s role gradually becomes less “metronomic” and more musical. Instead of beating endless patterns the conductor can cue dynamics or shape phrases. He or she can concentrate on music making rather than train wreck prevention.
     The jazz ensemble, by contrast, is a smaller group and has something that the concert band does not have: a rhythm section. Players in a jazz ensemble need to be taught to listen to the rhythm section for tempo. This is a difficult transition for both players and director. Students coming up through the concert band become used to seeing a conductor beat time. Teaching them to listen to the rhythm section is essential. Directors who have more experience in the concert band are apt to continue doing things the way they are used to in the large ensemble. Thus they conduct everything, thereby providing the students with a tempo and eliminating the need (at least in the minds of the students) for listening. Young rhythm players, in particular, have a large responsibility thrust upon them when they are probably already struggling with basic technique on their instruments. Consequently, they may not be providing as solid a tempo as a conductor is able, which can be frustrating for everyone.
     The decision about when and how much to conduct, then, really depends upon how well two things happen: 1) how well the rhythms section can play with solid time and, 2) how well the rest of the band listens to the rhythm section. A band with a solid rhythm section, and wind players that know how to listen, does not need a timekeeper out front. By contrast, a band with a struggling rhythm section is going to need a steady tempo from the conductor if it is going to stay together. If your rhythm section is struggling, it is imperative that they reach the point where they can at least play steady time. Give the rhythm section plenty of time to play on their own, and give them attention in sectional rehearsals. Have them work on sections that have few hits or band figures so they can concentrate on playing time and listening to each other. Open solo sections are terrific for this kind of practice.
     When professional big bands perform, the only time anything approaching “conducting” takes place is the count off to start the tune, and the cut off of the final chord. Many directors use this as a model and as a result do little or no conducting with their jazz ensembles. This is an excellent approach, provided you have the previously mentioned strengths in your band. In most situations, though, it is necessary to nurture these skills in a young ensemble. Completely cutting off conductor support is not as effective as a gradual cut back. As the band gets more comfortable with certain charts, be on the lookout for areas where you are not needed. Solo sections are rarely conducted in any but the very youngest bands. Also look for a section where you can “get them started” and then bow out. An example would be a melody of a blues. Conduct for the first couple bars, then stop conducting and let the band play the rest of the chorus on their own.
     Do not be afraid to let the band struggle a bit as they are weaning themselves from conductor to rhythm section. There will more than likely be growing pains like tempo variations and ensemble playing that is not as tight at first. While the short term solution is to just conduct through everything, there will be a growth ceiling that will be reached. Be patient and allow these skills time to develop. The benefit to the ensemble as well as to the individual players will be much greater in the long run.
     The amount of conducting that ultimately takes place in performance varies widely from piece to piece. A ballad may be completely conducted, while a jam blues tune may have only a count off at the beginning and a cut off at the end. Most charts will fall someplace in the middle. Resist the temptation to conduct everything. Players in a jazz ensemble must learn to listen to the rhythm section. At the same time do not be afraid to offer some help when it is needed. Where that line is drawn is different for every group. Finding the line, and moving it, is the challenge to the director.

About Dean Sorenson

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